For the last 20 years, research on European colonialism has addressed private photo collections. Prior to that, interest was focused specifically on propaganda photography. In the hope that privately kept material could offer new, more ‘authentic’ insights into colonial everyday life, researchers have so far mostly ignored the mass-produced images which are often part of such private collections, too. But especially when the question arises of how mass-produced images functioned as consensus-building tools, of what impact they had on the ground, they seem to be a promising source. Therefore, this paper on mass-produced images of the 1935–41 Italo-Ethiopian War in private photography collections probes how ‘ordinary’ soldiers used images, what meanings they created in the process, and, thereby, how they positioned themselves relative to the Fascist regime's dominant colonial discourse. This article answers these questions by drawing on the private collections of four so-called ‘allogeni’, German-speaking Italian citizens from the province of Bozen/Bolzano, who took part in the 1935–41 Italo-Ethiopian War.

中文翻译：

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1935–41 年意大利-埃塞俄比亚战争批量生产图像的社会生活

在过去的 20 年里，对欧洲殖民主义的研究一直关注私人照片收藏。在此之前，兴趣主要集中在宣传摄影上。为了希望私人保存的材料能够提供对殖民地日常生活的新的、更“真实”的见解，研究人员迄今为止大多忽略了通常也是此类私人收藏的一部分的大量制作的图像。但尤其是当出现关于大规模制作的图像如何作为建立共识的工具发挥作用、它们在实地产生什么影响的问题时，它们似乎是一个有前途的来源。因此，这篇关于私人摄影收藏中 1935–41 年意大利-埃塞俄比亚战争大量制作图像的论文探讨了“普通”士兵如何使用图像，他们在这个过程中创造了什么意义，从而，他们如何相对于法西斯政权占主导地位的殖民话语定位自己。本文通过借鉴四位所谓的“同种异体'，来自博岑/博尔扎诺省的讲德语的意大利公民，他们参加了 1935–41 年的意大利-埃塞俄比亚战争。